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آوریل 24, 2008

88Minutes |دقیقه88 | 2008

Filed under: پر فروشترین ها [Box Office Top] — iranbuy @ 2:55 ب.ظ.

88

Minutes

2008

Director: Jon Avnet
Cast: Al Pacino, Alicia Witt, Leelee Sobieski, Neal McDonough

Movie Details

Title: 88 Minutes
Running Time: 107 Minutes
Status: Released
Country: United States, Germany
Genre: Drama, Thriller

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The execrable “88 Minutes” has many of the main ingredients for a camp lollapalooza, notably one of those unfortunate Al Pacino star turns that make you wonder if a career intervention is even possible at this stage. Certainly his startling appearance — a dusky orange tan that suggests a charbroiled George Hamilton and an elevated pouf of hair that appears to have been engineered to put Mr. Pacino within vertical range of his female co-stars — suggests a level of vanity that might make an intervention difficult. Vanity is a star’s prerogative, but it can be the portal to inescapable self-parody, as the late-period Joan Crawford attests.

Although it’s often laugh-out-loud laughably bad, “88 Minutes” is mostly just a slog. The subject doesn’t help: it opens with an intricately choreographed murder that finds a young Seattle woman trussed up like a hog for slaughter. Cut to the present. The murderer has been caught, and the man who helped put the villain on death row is Dr. Jack Gramm (Mr. Pacino), a forensic psychiatrist and professor with young Amazon students (Alicia Witt and Leelee Sobieski) and a sympathetic foil with a badge (William Forsythe). Dr. Jack fields lots of calls from his assistant (Amy Brenneman), but one day he receives a ring-a-ding from someone who says that he has 88 minutes to live … then 82 minutes … and so on.

Movies that make a ticking clock part of the story run the risk that viewers may start checking their watches, and so it is with this one, which seems to slow down the longer it goes, largely because it runs an interminable 105 minutes and not a tantalizing 88. During what’s meant to be a short time, the plot complications amass, as do incoherent camera setups and yet more elaborately trussed-up female bodies. A few outré touches help pass the tick-tock, tick-tock, including the dissonant casting of the spectral Deborah Kara Unger as a college dean and the production design for Dr. Jack’s digs, a Sharper Image bachelor pad with a wine collection and a Walther pistol, a brand favored by James Bond.

Outside of Ms. Unger, who delivers one of her singular and eminently watchable narcoleptic turns (and seems to have actually done a little of her own stunt work), the performances are risible. The usually appealing Ms. Witt and Ms. Sobieski fare less well than Ms. Unger does, largely because one is forced to vamp Dr. Jack while the other assumes a naughtier role, and in leather pants, no less. Mr. Pacino, who spends much of his screen time talking and occasionally shouting into a cellphone, barely seems to register that he’s sharing the screen with any other actors, perhaps because in a very fundamental way he isn’t. There’s nothing to be said about Jon Avnet’s direction except that he sure does like aerial shots.

In fact, there’s nothing at all left to be said about this idiotic flick. But here’s a thought: Misogyny aside, the attention shown to the display of dead bodies in “88 Minutes” offers continued evidence that cinema’s fascination with human locomotion during the art’s first 50 years — evident in early motion studies, in the gymnastics of the silent-movie clowns and in musicals — seems to have been supplanted in the last 50 by a fascination with rigor mortis. The touchstone for this shift is probably Hitchcock’s masterpiece “Psycho,” in which the camera is more vibrantly alive than any of the characters, including that dead blonde in the shower. She makes such a beautiful corpse it’s no wonder that we keep asking for more.

“88 Minutes” is rated R (Under 17 requires accompanying parent or adult guardian). Murder, torture, naked women — the usual.

88 MINUTES

Opens on Friday nationwide.

Directed by Jon Avnet; written by Gary Scott Thompson; director of photography, Denis Lenoir; edited by Peter Berger; music by Edward Shearmur; production designer, Tracey Gallacher; produced by Mr. Avnet, Mr. Thompson and Randall Emmett; released by TriStar Pictures. Running time: 1 hour 45 minutes.

WITH: Al Pacino (Jack Gramm), Alicia Witt (Kim Cummings), Leelee Sobieski (Lauren Douglas), Amy Brenneman (Shelly Barnes), Deborah Kara Unger (Carol Lynn Johnson), Benjamin McKenzie (Mike Stempt), William Forsythe (Frank Parks) and Neal McDonough (Jon Forster).

Copyright © New York Times | iran-buy.com | kingcomputer.ws

كارگردان: جان اونت
نویسنده: گری اسکات تامپسون
بازیگران: آل پاچینو، آلیشیا ویت، بنجامین مکنزی
رنگ: رنگی
ژانر: : درام :: جنایی :
درجه فیلم: R
کشور: ایالات متحده/آلمان
استودیو: ترای‌استار پیکچرز
افتتاحیه: 18 آوریل 2008
فروش هفته: 6.8
فروش کل: 6.8
مدت زمان فیلم: 108
امتياز منتقدان از 100: 17
جملات تبليغاتي: او 88 دقیق وقت دارد تا معمای یک قتل را حل کند. مال خودش.
خلاصه داستان: در سیاتل یک کاراگاه زبده و استاد دانشگاه تهدید به مرگ می‌شود. او فقط 88 دقیقه وقت دارد معما را حل کند.

© cinemaema

88 Minutes – Official Site

88 Minutes (2007)

88 Minutes – Wikipedia, the free encyclopedia

The Forbidden Kingdom |قلمرو ممنوعه| 2008

Filed under: پر فروشترین ها [Box Office Top] — iranbuy @ 2:49 ب.ظ.
Director: Rob Minkoff
Cast: Jackie Chan, Jet Li, Liu Yifei, Michael Angarano
Rating: PG-13 (Violence)

Movie Details

Title: The Forbidden Kingdom
Running Time: 105 Minutes
Status: Released
Country: United States
Genre: Adventure, Action, Sci-Fi

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At first glance “Forbidden Kingdom,” the first movie to unite the martial arts action stars Jackie Chan and Jet Li, might be mistaken for a pastiche of its genre. Its main character, a Boston teenager named Jason (Michael Angarano), is obsessed with kung fu cinema, and the ways of modern Hollywood might lead you to expect the filmmakers to mock, travesty or wink at this obsession.

Instead they — the screenwriter John Fusco and the director Rob Minkoff — clearly share it. And though it is an English-language film (albeit a heavily accented one), “Forbidden Kingdom” is a faithful and disarmingly earnest attempt to honor some venerable and popular Chinese cinematic traditions.

These include a plot that is at times so convoluted as to teeter on the brink of incomprehensibility, a heavy brocade of martial honor and blurry mysticism, and above all a lot of wildly inventive fighting. The battles were choreographed by Yuen Wo Ping, one of the supreme masters of the art, and shot by Peter Pau, whose credits as a cinematographer include “Crouching Tiger, Hidden Dragon.”

Filmed on Chinese locations and studio sets, the movie shows the lavish artificiality that is, in the currently booming Chinese film industry, a sign of authenticity. Mr. Chan made his name in scruffier, scrappier Hong Kong entertainments, but as he has aged into an international superstar, he has come to seem at home just about everywhere. Here he plays two roles: an elderly junk dealer in 21st-century Boston and an itinerant fighter, specializing in the “drunken fist” style of combat, in a mythic ancient China.

Mr. Li also plays two parts, both in the mythic past: the mischievous Monkey King (who uses — what else? — monkey kung fu fighting techniques) and a monk. After an inconclusive and thrilling battle — surely the high point of the movie — the monk and Mr. Chan’s character join forces to help Jason, who has been transported to their world by a magic staff that once belonged to the Monkey King.

An evil warlord (Collin Chou) stands in their way, as does a white-haired witch (Li Bing Bing). Accompanying the monk, the drunk and the kid from Boston is a young woman named Golden Sparrow (Liu Yifei), a fearsome warrior in her own right, who seeks to avenge the death of her parents.

There is both a surfeit of motives and a dearth of momentum driving the narrative of “The Forbidden Kingdom,” which often drags in the expository sections between set pieces. But many of the set pieces are dazzling, even if, by now, audiences may be a bit jaded by high-flying wire work and artful blends of computer-generated imagery and traditional production design.

Still, the film works well enough as a primer for latecomers and a fix for insatiable martial arts lovers. If you’ve never seen a movie like this, it might satisfy your curiosity; if you can’t get enough of this kind of movie, nothing I say about it would keep you away.

“The Forbidden Kingdom” is rated PG-13 (Parents strongly cautioned). It has many action scenes, some of them fairly brutal.

FORBIDDEN KINGDOM

Opens on Friday nationwide.

Directed by Rob Minkoff; written by John Fusco; director of photography, Peter Pau; edited by Eric Strand; music by David Buckley; action choreography by Yuen Wo Ping; production designer, Bill Brzeski; produced by Casey Silver; released by Lionsgate. Running time: 1 hour 53 minutes.

WITH: Jackie Chan (Lu Yan/Old Hop), Jet Li (Silent Monk/Monkey King), Collin Chou (Jade Warlord), Liu Yifei (Golden Sparrow), Li Bing Bing (Ni Chang) and Michael Angarano (Jason Tripitikas).

Copyright © New York Times | iran-buy.com | kingcomputer.ws
كارگردان: راب مینکوف
نویسنده: جان فوسکو، چنگ ان وو
بازیگران: جکی چان، جت لی، مایکل آنگارانو، لی بینگ بینگ
رنگ: رنگی
ژانر: : حادثه ای :: اکشن :
درجه فیلم: PG-13
کشور: ایالات متحده
استودیو: لایونزگیت
افتتاحیه: 18 آوریل 2008
فروش هفته: 20.87
فروش کل: 20.87
مدت زمان فیلم: 113
امتياز منتقدان از 100: 57
جملات تبليغاتي: راه نامطمئن است. قلعه ناشناخته. سفر باورنکردنی.
خلاصه داستان: سفر یک نوجوان آمریکایی کونگ‌فو کار به چین، موجب می‌شود پایش به گروهی از رزمی‌کاران برای نجات دادن یک نفر باز شود.

© cinemaema

Forgetting Sarah Marshall |فراموش کردن سارا مارشال |2008

Filed under: پر فروشترین ها [Box Office Top] — iranbuy @ 2:43 ب.ظ.

Forgetting Sarah Marshall (2008)

Director: Nicholas Stoller
Cast: Jason Segel, Kristen Bell, Mila Kunis

Movie Details

Title: Forgetting Sarah Marshall
Running Time: 112 Minutes
Status: Released
Country: United States
Genre: Romantic Comedy

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One way to enjoy “Forgetting Sarah Marshall” — at least vicariously — is to think of the movie as the Judd Apatow Stock Company’s Hawaiian vacation. Those pasty-faced funny guys have been working awfully hard over the past few years, so who can begrudge them a few weeks of surf, sun, babes and fun? I don’t know if Mr. Apatow himself, a producer of this movie (the director is the first-timer Nicholas Stoller), went along for the trip. The members of his troupe who did managed to squeeze in enough work to placate the I.R.S., and also that segment of the audience, myself included, whose appetite for naturally sweetened raunch has not yet abated.

Jason Segel, author of the film’s screenplay and a fixture in Mr. Apatow’s universe since the television series “Freaks and Geeks,” takes his allotted turn as the romantic lead, which is to say as a slobby, goofy but basically decent fellow navigating the uncertain waters of modern sexual ethics. He does so at an island resort where the evening sun bathes the palm trees in honeyed light and imparts a gemlike sparkle to the Pacific Ocean.

Supporting Mr. Segel are some of the usual gang — Jonah Hill as a waiter, Paul Rudd as a surfing instructor, Bill Hader as the brother back home in Los Angeles — and a few newish dudes (notably Jack McBrayer and Da’vone McDonald) stepping up to deliver YouTube-ready riffs on matters of eros and pop culture. (Politics, the actual YouTube obsession of the moment, doesn’t really exist in Mr. Apatow’s world.)

Not that everything is breezy and casual. “Forgetting Sarah Marshall” is, after all, a breakup comedy, and its overall jollity is streaked with some raw emotions, including jealousy, heartache and humiliation. A few minutes in, Peter Bretter (Mr. Segel), a composer who writes the music for a television cop series, is peremptorily dumped by Sarah Marshall (Kristen Bell), his girlfriend of five years, who is one of the show’s stars. Sarah has taken up with a louche, longhaired British rocker, Aldous Snow (Russell Brand), with whom she escapes to the same vacation spot where Peter, after a montage of meaningless hookups, goes to heal his battered soul. An important axiom is thus established early on: To a single, gainfully employed man in Los Angeles, sex comes easily. Love, however, is hard.

Or complicated, anyway, which is not the same thing. Once in Hawaii, Peter meets — in addition to a beachful of amusing bit players — the friendly, dark-haired receptionist you kind of suspect will be Sarah’s replacement. Her name is Rachel, she is played by Mila Kunis, and she has, for purposes of symmetry, her own history of romantic trouble. But the bad boyfriend in her past may not be quite enough to establish the enabling conceit that a woman like this would be (a) unattached and (b) likely to fall for Peter.

Still, “Forgetting Sarah Marshall” does not entirely play by the established conventions of its genre. Its willingness to explore states of feeling and modes of behavior that tamer romantic comedies never go near is decidedly a virtue, though this same sense of daring and candor also exposes its limitations.

Speaking of which, the filmmakers forgo the cheap and easy thrill of female nudity, preferring the display of male flesh for comic effect. Ms. Bell, Ms. Kunis and Maria Thayer (as a voracious honeymooner in an amusing subplot) keep their tops and bottoms covered even when vigorously feigning naked passion. Mr. Segel, however, appears, near the beginning of the film and again toward the end, in his unclothed entirety, a spectacle that I must report did not entirely impress a quite vocal woman a few rows behind me at the sneak preview. Mr. Segel’s willingness to face the kind of criticism she voiced is surely to his credit.

So is his ability to display both Peter’s charms and his unappealing traits — he is a loose-faced, needy, ingratiating Labrador retriever of a man — and to orchestrate a comedy of betrayal and cruelty that rarely feels meanspirited. For much of the movie’s first half, Sarah seems to be a climber and a two-timer, cheating on her devoted, unglamorous boyfriend and then ditching him for an oversexed celebrity. But at least briefly the perspective is flipped, as Sarah, accompanied by illustrative flashbacks, gently and persuasively explains to Peter what a drag he was when they were together — what a mopey, self-absorbed loser.

Which, curiously enough, is what catches Rachel’s eye in the first place. Her attraction to Peter originates not in lust but rather in pity. Something similar happened in “Freaks and Geeks,” when Linda Cardellini’s character started going out with Mr. Segel’s largely because she felt sorry for him. In that case, though, the girl’s point of view was much more central, and the shakiness of the ensuing adolescent relationship was both funnier and truer than this grown-up variation on it.

The Rachel-Peter romance is charming but not, in the end, especially credible or interesting. That the contrastingly but equally gorgeous Rachel and Sarah end up as rivals for Peter’s favor is likely to flatter the self-esteem — or at least feed the fantasies — of doughy, underachieving regular guys across America. Which is nice for them, us, whatever.

But the schlub-hottie pairings that have become ubiquitous on screen lately also reinforce a dreary double standard. Guys are permitted to be flabby, lazy emotional wrecks, but as long as they crack jokes, some action will come their way. Girls, ideally, should have a sense of humor — mainly so they can laugh at those jokes — but for the most part they should look good in a bikini and like sex (though not too much and not anything too weird). Maybe someday, though probably not under Mr. Apatow’s aegis, a relatively ordinary-looking woman will have a sex comedy of her own.

“Forgetting Sarah Marshall” is rated R (under 17 requires accompanying parent or adult guardian). It has crude sexual humor and full-frontal male nudity.

FORGETTING SARAH MARSHALL

Opens on Friday nationwide.

Directed by Nicholas Stoller; written by Jason Segel; director of photography, Russ T. Alsobrook; edited by William Kerr; music by Lyle Workman; production designer, Jackson de Govia; produced by Judd Apatow and Shauna Robertson; released by Universal Pictures. Running time: 1 hour 45 minutes.

WITH: Jason Segel (Peter Bretter), Kristen Bell (Sarah Marshall), Mila Kunis (Rachel Jansen), Russell Brand (Aldous Snow), Bill Hader (Brian Bretter), Jonah Hill (Matthew the Waiter), Da’vone McDonald (Dwayne the Bartender), Paul Rudd (Chuck), Maria Thayer (Wyoma) and Jack McBrayer (Darald).

  • كارگردان: نیک استولر
    نویسنده: جیسون سگل
    بازیگران: کریستن بل، جیسون سگل، پل راد
    رنگ: رنگی
    ژانر: : عشقی :: کمدی :
    درجه فیلم: R
    کشور: ایالات متحده
    استودیو: یونیورسال پیکچرز
    افتتاحیه: 18 آوریل 2008
    فروش هفته: 17.35
    فروش کل: 17.35
    مدت زمان فیلم: 112
    امتياز منتقدان از 100: 68
    جملات تبليغاتي: یک کمدی رمانتیک بدبختی در منتها درجه.
    خلاصه داستان: پیتر برای جمع و جور کردن روابطش با نامزدش به هاوایی سفر می‌کند در حالی که نمی‌داند او با نامزد جدیدش به آن‌جا می‌آید.
    حاشيه هاي فيلم: هزینه تولید فیلم 30 میلیون دلار بوده است. cinemaema ©

FORGETTING SARAH MARSHALL – Official Website – NOW

PLAYING

Forgetting Sarah Marshall (2008)

Forgetting Sarah Marshall – Wikipedia, the free encyclopedia

آوریل 15, 2008

Street Kings |سلاطین خیابان| 2008

Filed under: پر فروشترین ها [Box Office Top] — iranbuy @ 4:25 ب.ظ.

Street Kings 2008

Alternate Titles: The Night Watchman, Night Watch, The NightWatchman
Director: David Ayer
Cast: Keanu Reeves, Forest Whitaker, Hugh Laurie, Chris Evans

Movie Details

Title: Street Kings
Running Time: 107 Minutes
Status: Released
Country: United States
Genre: Drama, Thriller, Crime

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Bad Cops, but Some Worse Than Others

James Ellroy, the self-described “demon dog” of American crime fiction, writes in a baroque, pulp prose style that hurtles along the page like a speed freak in a rocket, an image that I probably lifted from one of his books. In his fiction and nonfiction he rushes forward fast, fast, fast, pausing regularly to do a little scat singing (“a hypodermic full of hyper-hazy, health-hazarding” stuff, from a 1998 short story called “Hush-Hush”), or to blow a hole through the page. He’s a demon dog, all right, with a bite as sharp as his bark.

Other than Curtis Hanson’s 1997 elegant page-to-screen translation of Mr. Ellroy’s novel “L.A. Confidential,” the movies have generally failed to capture the true tone and texture of his dark places. Certainly that’s the case with David Ayer’s absurd if accidentally entertaining potboiler, “Street Kings,” based on a story by Mr. Ellroy, who also shares screenwriting credit with Kurt Wimmer and Jamie Moss. The premise — the existence of an ultraviolent gang of cops operating inside the Los Angeles Police Department and wholly outside the law — has a vintage Ellroy tang, though it also pointedly summons up a host of that city’s authentic police corruption scandals, from the 1930s through the 1990s.

Keanu Reeves plays Detective Tom Ludlow, a prime cut of beef who’s part of a cultish, multicultural wrecking crew run by the silkily smooth Capt. Jack Wander (Forest Whitaker). A loner by violent disposition and tragic (dead wife) history, Tom bursts into the film, breaking any number of laws, and immediately enters a hell on earth (that would be Los Angeles) with bullets, blood, shattered bone and underage sex slaves. Good times! More seriously, and this is nothing if not a deeply serious movie (I think), there are nothing but bad times ahead, with even more blood — smeared, splattered, splashed and sprayed — mixed in with vivid night photography, thumping tunes, boyz in the hood, ornamental women, casual racist insults and a lot of manly shouting.

Mr. Ayer, who wrote “Training Day” and directed “Harsh Times,” invests his work with palpable energy — his films feel urgent and at times, interestingly, close to desperate — but he has next to no idea how to control or channel all that manic intensity. Much as he does in “Harsh Times,” he starts this new film in overdrive and keeps it there all the way to the exhausted, exhausting end, piling violent moment upon violent moment. And much like “Training Day” (in which Denzel Washington plays a swaggeringly corrupt cop) and “Harsh Times” (Christian Bale doing the wigged-out war veteran thing), this film pivots on a man who, having been schooled in violence and rewarded for lessons too well learned, has become captive to his own brutality.

Trained as a pit bull, stripped of fear and almost without any pity (especially for himself), Tom has no sense that he’s fighting for someone else’s gain. Mr. Reeves, his face and body somewhat thickened, perhaps by age or the role or both, looks like a middleweight boxer who’s reached the end of a very hard and long road. (Robert Ryan had a lock on this type in the 1940s and ’50s.) Mr. Reeves’s natural sobriety works well for the part, as does his ability to play it stiff and straight and a touch stupid. Tom’s slow-dawning awareness of the world he inhabits and his awful place in it is terribly obvious, as is his metamorphosis, but neither is it devoid of pathos.

It’s easy to laugh at “Street Kings” for its bigger than big emotions, its preposterously kinky narrative turns and overwrought jawing and yowling, but there’s no doubt that it also keeps you watching, really watching, all the way to the end. The film can be unintentionally, often grotesquely, funny, nowhere more so than during the grandiose finale when Mr. Whitaker — never what you might call a quiet actor to begin with — cuts crazy loose and starts popping his eyes and sputtering the spit. What Mr. Ayer doesn’t appear to have realized — a mistake shared by Brian De Palma in his unfortunate adaptation of Mr. Ellroy’s crime novel “The Black Dahlia” — is that you don’t need to gild a 24-karat lily. It’s plenty shiny already.

Opens on Friday nationwide.

Directed by David Ayer; written by James Ellroy, Kurt Wimmer and Jamie Moss, based on a story by Mr. Ellroy; director of photography, Gabriel Beristain; edited by Jeffrey Ford; music by Graeme Revell; production designer, Alec Hammond; produced by Lucas Foster, Alexandra Milchan and Erwin Stoff; released by Fox Searchlight Pictures. Running time: 1 hour 47 minutes.

WITH: Keanu Reeves (Detective Tom Ludlow), Forest Whitaker (Capt. Jack Wander), Hugh Laurie (Capt. James Biggs), Chris Evans (Detective Paul Diskant), Martha Higareda (Grace Garcia), Naomie Harris (Linda Washington), Jay Mohr (Sgt. Mike Clady), John Corbett (Detective Dante Demille), Amaury Nolasco (Detective Cosmo Santos), Terry Crews (Detective Terrence Washington), Cedric the Entertainer (Scribble), Common (Coates) and the Game (Grill).
Copyright © New York Times | iran-buy.com | kingcomputer.ws

كارگردان: دیوید آیر
نویسنده: دیوید آیر، جیمز الروی
بازیگران: کیانو ریوز، فارست ویتاکر، هیو لوری، کریس اوانز
رنگ: رنگی
ژانر: : تریلر :: درام :: جنایی :
درجه فیلم: R
کشور: ایالات متحده
استودیو: فاکس سرچ‌لایت پیکچرز
افتتاحیه: 11 آوریل 2008
فروش هفته: 12
فروش کل: 12
مدت زمان فیلم: 109
امتياز منتقدان از 100: 54
جملات تبليغاتي: شهر آن‌‌ها. قوانین آن‌ها. زندانی نداریم.
خلاصه داستان: یک مامور پلیس لس‌آنجلس پس از مرگ همسرش دچار مشکلات اساسی در روابطش می‌شود. زمانی که شواهد نشان می‌دهد که او در قتل همکارش شریک بوده است کم کم با شرایط دور و برش آشنا می‌شود و در نهایت به شرافت اطرافیانش هم شک می‌کند.C cinemaema

Prom Night |شب رقص دانشکده| 2008

Filed under: پر فروشترین ها [Box Office Top] — iranbuy @ 4:20 ب.ظ.

Prom Night (2008)

Director: Nelson McCormick
Cast: Brittany Snow, Jessica Stroup, Collins Pennie

Movie Details

Title: Prom Night
Running Time: 88 Minutes
Country: USA
Genre: Slasher Film, Teen Movie

Music, Corsages and a Killer

It has been almost 30 years since Jamie Lee Curtis shrieked her way through the tacky magnificence of the original “Prom Night,” made at a time when the filleting of young girls was more of a cinematic novelty.

Ms. Curtis (who nowadays seems to prefer tasteful public disrobing to shrieking) would probably be insulted to learn from the press notes of this new film that it has been reimagined for a “more sophisticated audience.” (Because that’s just what you hope for in a slasher-movie audience: sophistication.) To that end, Ms. Curtis’s award-worthy screams have been replaced by Brittany Snow’s generic whimpers as Donna, sole survivor of a stalker who killed her family three years earlier and who has chosen the night of her senior prom to finish the job.

For a film about erotomania, “Prom Night” is a curiously flaccid affair, dampened by a risible villain (Johnathon Schaech) and a bloodless script that channels all its tension into the choosing of the prom king and queen. Demonstrating little except the uselessness of a restraining order against a loony-tunes admirer, the movie offers less gore than the average Band-Aid commercial and fewer scares than the elimination episodes of “Dancing With the Stars.” But then, maybe I’m just not sophisticated enough.

Copyright © New York Times | iran-buy.com | kingcomputer.ws

كارگردان: نلسون مک‌کورمیک
نویسنده: جی اس کاردونه
بازیگران: بریتانی اسنو، اسکات پورتر، دانا دیویس
رنگ: رنگی
ژانر: : تریلر :: مرموز :: وحشت :
درجه فیلم: PG-13
کشور: ایالات متحده
استودیو: اسکرین جمز (سونی)
افتتاحیه: 11 آوریل 2008
فروش هفته: 22.7
فروش کل: 22.7
مدت زمان فیلم: 88
امتياز منتقدان از 100: 26
جملات تبليغاتي: نیمه‌شب هر کسی آماده است که به خانه برگردد… اما یک نفر نقشه دیگری دارد.
خلاصه داستان: گروهی از دانش‌آموزان دبیرستانی در شب رقص توسط یک قاتل بدذات که سال‌ها قبل شاهد مرگ اتفاقی یک دختر جوان توسط همین گروه بوده است به شدت مورد حمله قرار می‌گیرند. C cinemaema

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Prom Night (2008)

Prom Night – Official Site

Prom Night (2008 film) – Wikipedia, the free encyclopedia

21 (2008)

Filed under: پر فروشترین ها [Box Office Top] — iranbuy @ 4:15 ب.ظ.

21 (2008)

Cast: Jim Sturgess, Kevin Spacey, Kate Bosworth, Aaron Yoo, Liza Lapira

Movie Details

Title: 21
Running Time: 122 Minutes
Country: USA
Genre: Psychological Thriller
Greed is good and comes without a hint of conscience in “21,” a feature-length bore about some smarty-pants who take Vegas for a ride. Loosely based on the nonfiction book “Bringing Down the House” by Ben Mezrich, and adapted for the screen by Peter Steinfeld and Allan Loeb, this bankrupt enterprise asks you to care about a whiny M.I.T. moppet, Ben Campbell (Jim Sturgess, serviceable), who because he can’t afford Harvard Medical School (boo hoo), starts counting cards to rake in some serious cash.

The conduit to Ben’s journey of counterfeit self-discovery is a racially, ethnically, sexually balanced gang of other greedy bright things (the most appealing being Aaron Yoo, wasted as the kooky, sexless Asian guy), run by an equally avaricious math professor, Micky Rosa (Kevin Spacey on autopilot). Using a system of mnemonic devices, goofy hand signals and a talent for numbers, the team has devised a way to beat the bank. (In Las Vegas, Laurence Fishburne and his knuckles will have something to say about that.) Because Ben doesn’t want to use his poor widowed mother’s savings to go to Harvard, he decides to ditch his qualms if not his sense (because he really has none) and signs on.

And so it’s off to Vegas they go, where they count the cards, take the money and run. Amid the din and glare of various casinos, the director Robert Luketic, whose credits include “Legally Blonde,” engages in other dodgy business: he cribs from Wong Kar-wai’s “Chungking Express” period (Ben sits motionless as the world races by); borrows from the David Fincher of “Fight Club” (camera tricks for kicks); lifts from Martin Scorsese’s “Casino” (throw the money in the air like you just don’t care); and pays homage to universal whoredom by restaging the “Pretty Woman” shopping montage. He also tosses in some gleaming rides, a couple of PG-13 pole dancers and a Rolling Stones remix that both Dad and the kids can enjoy.

Ben ogles the chintzy glamour and the chesty blondes spilling out of their dresses, and the movie does exactly the same. He particularly likes it when his skinny school crush, Jill, clambers aboard and offers him a lap job, for which I hope the young actress Kate Bosworth was well compensated. Like everything else in “21,” Jill can be bought for the right price, as of course can Ben and, by extension, us. The filmmakers try to soften this idea mostly by furnishing Ben with a sob story. They turn his desire to attend Harvard into something tantamount to an inalienable right, one that’s impervious to ethical standards or personal morals, which means that “21” is either a very cynical or a very smart take on the power elite.

“21” is rated PG-13 (Parents strongly cautioned). Most of the on-screen lust is for money.

21

Opens on Friday nationwide.

Directed by Robert Luketic; written by Peter Steinfeld and Allan Loeb, based on the book “Bringing Down the House: The Inside Story of Six M.I.T. Students Who Took Vegas for Millions” by Ben Mezrich; director of photography, Russell Carpenter; edited by Elliot Graham; music by David Sardy; production designer, Missy Stewart; produced by Dana Brunetti, Kevin Spacey and Michael De Luca; released by Columbia Pictures. Running time: 2 hours 3 minutes.

WITH: Jim Sturgess (Ben Campbell), Kate Bosworth (Jill Taylor), Laurence Fishburne (Cole Williams), Kevin Spacey (Micky Rosa), Aaron Yoo (Choi), Liza Lapira (Kianna) and Jacob Pitts (Fisher).

Copyright © New York Times | iran-buy.com | kingcomputer.ws
كارگردان: رابرت لوکتیک
بازیگران: جیم استورجس، کیت بازورث، لارنس فیشبرن
رنگ: رنگی
ژانر: : درام :
درجه فیلم: PG-13
فروش هفته: 11
فروش کل: 62.27
مدت زمان فیلم: 123
امتياز منتقدان از 100: 48
حاشيه هاي فيلم: هزینه تولید فیلم 35 میلیون دلار بوده است.

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21 – Official Site

21 (2008)

21 (2008 film) – Wikipedia, the free encyclopedia

Leatherheads |کلاه‌چرمی‌ها| 2008

Filed under: پر فروشترین ها [Box Office Top] — iranbuy @ 4:06 ب.ظ.

Leatherheads (2008

Director: George Clooney
Cast: George Clooney, Renee Zellweger, John Krasinski
Rating: PG-13 (Profanity)

Movie Details

Title: Leatherheads
Running Time: 113 Minutes
Status: Released
Country: United States
Genre: Romantic Comedy, Period, Sports

In the good old days, around 1925, according to “Leatherheads,” professional football was a lot more fun, a rough, ragged enterprise, untrammeled by corporate influence and unconstrained by rules and regulations. And in the slightly more recent old days — the ’30s and ’40s, more or less — movies were also more fun. They had zip, pep, moxie, trains, hats and double-entendres.

“Leatherheads” makes the second case as strongly as it does the first, but mainly by showcasing its own dullness and timidity. The picture labors so strenuously to approximate some of the old screwball spirit that it winds up in traction. The actors, writers and directors who made those old studio whirligigs spin — Clark Gable and Carole Lombard; William Powell and Myrna Loy; Preston Sturges and Frank Capra and all the rest — made it look easy. By contrast “Leatherheads,” the third and by a wide margin the weakest movie directed by George Clooney, looks to have been nearly as hard to make as it is to watch.

Mr. Clooney, mugging and flexing his eyebrows and lingering needlessly in the frame when he should be taking care of business behind the camera, plays Dodge Connolly, aging star of a Duluth, Minn., football squad on the verge of bankruptcy. The professional game is a marginal, low-rent undertaking played in front of sparse crowds in cow fields. The glamour is all at the collegiate level, where lantern-jawed scholars in smart uniforms fill vast stadiums with ardent fans.

Dodge, a smooth-talking sharpie on and off the gridiron, persuades Princeton’s star player, Carter Rutherford (John Krasinski), to join the Duluth team. Carter and his oily manager, C. C. Frazier (Jonathan Pryce), agree. A while later Mr. Clooney and Mr. Krasinski punch each other in the face.

But in the meantime they and we make the acquaintance of Lexie Littleton (Renée Zellweger), a fast-talking, ambitious lady reporter for The Chicago Tribune who admires the sound of her own voice and the sight of her own legs just in case no one else will. They all do, of course, because the script (by Duncan Brantley and Rick Reilly) requires them to. It also stuffs Ms. Zellweger’s mouth with hard-boiled witticisms that have all the intoxicating fizz of Diet Coke.

But since it’s Prohibition, everyone drinks whiskey until the cops raid the speak-easies. The music, by Randy Newman, gooses the action along in a desperate effort to create an atmosphere of madcap Jazz Age insouciance, and the screenplay multiplies subplots in the same doomed cause. Before he was a football hero, Carter was a war hero, and Lexie aims to use her womanly wiles and her journalistic smarts to debunk his claims of battlefield glory. This sets up a botched farcical climax that will require several viewings of Sturges’s “Hail the Conquering Hero” to chase from your mind.

Lexie, at least, has a clear goal in mind, which is more than can be said for “Leatherheads.” Mr. Clooney is known to be high-spirited as well as high-minded, and it’s perfectly reasonable that he would follow the earnest moral inquiry of “Good Night, and Good Luck” with a lighter, looser excursion into the American past. It is also interesting to note that all three of the movies he has directed (“Confessions of a Dangerous Mind” was the first) share a passing concern with the ethical problems of journalism and the conundrums of celebrity culture at various points in 20th-century history.

What is harder to comprehend is how Mr. Clooney turned out such a sloppy, haphazard and tonally incoherent piece of work. “Leatherheads” lurches hectically between Coen brothers-style pastiche and John Saylesian didacticism, while Mr. Clooney works his brow and his jaw and waits in vain for his charm to kick in and save the day. Unless he’s just vamping until the director shows up and gives him some clear instructions.

Copyright © New York Times | iran-buy.com | kingcomputer.ws

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كارگردان: جورج کلونی
نویسنده: دانکن برانتلی، ریک رایلی
بازیگران: جورج کلونی، رنه زلوگر، جاناتان پرایس
رنگ: رنگی
ژانر: : عشقی :: درام :: کمدی :
درجه فیلم: PG-13
کشور: ایالات متحده
استودیو: یونیورسال پیکچرز
افتتاحیه: 4 آوریل 2008
فروش هفته: 6.21
فروش کل: 21.91
مدت زمان فیلم: 114
امتياز منتقدان از 100: 56
جملات تبليغاتي: ابتدا، قوانین خیلی ساده بود. خیلی هم نبودند.
خلاصه داستان:

یک کمدی رمانتیک بر پایه مسابقات فوتبال در دهه 20. یک اسطوره فوتبال پا به سن گذاشته (کلونی) و یک ستاره فوتبال تازه نفس که او برای تیم حرفه‌ای دانشجویی‌اش جذب کرده است برای به دست آوردن قلب یک دختر شجاع روزنامه‌نگار تلاش می‌کنند. داستان در 1925 می‌گذرد.

حاشيه هاي فيلم: هزینه تولید فیلم 58 میلیون دلار بوده است.
ویژه: فیلم تازه جورج کلونی، ستاره خوش چهره و محبوب هالیوودی بعد از فیلم بسیار موفق «شب بخیر و موفق باشی». به قولی ترکیب «هر یکشنبه موعود» با «دختر جمعه‌هایش». ©cinemaema

Leatherheads (2008)

Leatherheads – Wikipedia, the free encyclopedia

Leatherheads Movie | Trailers, Photos, Downloads & Story | Now In

The Ruins |خرابه‌ها| 2008

Filed under: پر فروشترین ها [Box Office Top] — iranbuy @ 4:02 ب.ظ.

The Ruins |خرابه‌ها| 2008

Director: Carter Smith
Cast: Jonathan Tucker, Laura Ramsey, Jena Malone, Shawn Ashmore

Movie Details

Title: The Ruins
Running Time: 91 Minutes
Status: Released
Country: United States
Genre: Adaptation, Action, Thriller

Watch Out for That Malevolent Jungle Vine

More disgusting than scary, “The Ruins” is the latest in a long line of horror films about upper-middle-class travelers being terrorized in unfamiliar environments. It is also, unfortunately, a movie that is nowhere near as original as its monster, a strain of malevolent, seemingly intelligent jungle vine with a taste for human flesh.

Adapted by Scott B. Smith from his best-selling novel of the same title, and directed by Carter Smith (not related to the author), the film follows four attractive young Americans (Jonathan Tucker, Jena Malone, Shawn Ashmore and Laura Ramsey) as they join a handsome German, Mathias (Joe Anderson), on a trip to jungle ruins in Mexico to meet up with Mathias’s brother and his archaeologist girlfriend.

In slasher-movie tradition, these happy wanderers prove as stupid as they are arrogant, disregarding the bad-omen appearance of a couple of spooky Mayan children, seemingly on loan from “Apocalypto” and rappelling down into the gloomy depths of a temple without a plan or a clue. Back in the day, Richard Pryor might have mined a comedy routine from this movie.

With its numerous images of well-off first-world tourists being devoured by a third-world environment and forced to contemplate hacking off infected body parts, “The Ruins” could have been the most politically provocative horror film since “Bug” was released last year. It settles for gore and pain instead.

كارگردان: کارتر اسمیت
نویسنده: اسکات اسمیت
رنگ: رنگی
ژانر: : تریلر :: فیلم نوار :
درجه فیلم: R
کشور: ایالات متحده
فروش هفته: 3.25
فروش کل: 13.41
امتياز منتقدان از 100: 48
جملات تبليغاتي: وحشت گسترش می‌یابد.

The Ruins

The Ruins (2008)

Wiki

Superhero Movie |فیلم ابرقهرمانی| 2008

Filed under: پر فروشترین ها [Box Office Top] — iranbuy @ 3:56 ب.ظ.
Director: Craig Mazin
Cast: Drake Bell, Sara Paxton, Christopher McDonald, Pamela Anderson

Movie Details

Title: Superhero Movie
Running Time: 85 Minutes
Status: Released
Country: United States
Genre: Comedy, Satire

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To call “Superhero Movie” a satire, or even a parody, of the genre specified in its title would be misleading, since those terms imply at least an attempt at wit. But no real mockery is intended by this harmless, mindless grab bag of slightly used gags, which lampoons some of the conventions of recent comic-book epics and adds the expected staples of juvenile humor: urine, vomit and intestinal gas.

There’s some other stuff too, of course. Brassieres, for example, sprinklings of timid ethnic and homophobic humor, and more references to Internet phenomena like YouTube, MySpace and Craigslist than you’re likely to encounter in a real superhero picture. Oddly, though, the narrative template is shockingly ancient: it’s the first Spider-Man movie, which came out, like, six years ago. Who even remembers?

There are also references to the “Fantastic Four,” “X-Men” and “Batman” franchises, all mild enough to avoid offending fans or litigious copyright holders. And there are a few moments that might elicit a chuckle, including a Tom Cruise impersonation that has already circulated on the Web. The presence of Leslie Nielsen does not in itself bring laughter, except insofar as you may be reminded of other, funnier movies.

Otherwise, it’s a long 85 minutes, which may, come to think of it, be a trenchant bit of satire in its own right. Most superhero movies these days are much too long and way too expensive. “Superhero Movie” manages to feel that way even though it could hardly be shorter or cheaper.

Those requiring a plot summary are invited to write their own and share it with friends, a more satisfying exercise than actually seeing the movie. But people will do that too. “Superhero Movie” occupied two screens at the Times Square multiplex where I saw it with a select group of cinephiles at 10:45 on Friday morning, and I’m sure the crowds will be large as the weekend progresses. And then it will be forgotten until a few months from now, when the next gaggle of earnest, troubled, costumed crime fighters take over those screens and make me look back in sorrow at this missed opportunity to cut them all down to size.

كارگردان: کریگ مازین
نویسنده: کریگ مازین
بازیگران: دریک بل، سارا پاکستون، پاملا اندرسون
رنگ: رنگی
ژانر: : کمدی :: اکشن :
درجه فیلم: PG-13
کشور: ایالات متحده
استودیو: دایمنشن فیلمز، ام جی ام
افتتاحیه: 28 مارس 2008
فروش هفته: 3.11
فروش کل: 21.2
مدت زمان فیلم: 85
امتياز منتقدان از 100: 33
جملات تبليغاتي: بزرگترین فیلم ابرقهرمانی تمام دوران! (با در نظر نگرفتن بقیه)

C cinemaema

Smart People |آدم‌های زرنگ| 2008

Filed under: پر فروشترین ها [Box Office Top] — iranbuy @ 3:43 ب.ظ.

Smart People 2008

Director: Noam Murro
Cast: Dennis Quaid, Thomas Haden Church

Title: Smart People
Running Time: 95 Minutes
Status: Released
Country: United States
Genre: Drama, Comedy

A Disagreeable Academic, and a Tonic Named Sarah Jessica Parker

If you are in the mood for a movie about the rejuvenation of an aging, widowed college professor — and don’t pretend you aren’t — then this is a weekend of rare and unexpected abundance. By some miracle of film industry serendipity, two such movies are opening today in limited release. Even more bizarre: each is pretty good.

In “The Visitor”, Richard Jenkins plays an economist whose flagging joie de vivre is restored when he takes up drumming. “Smart People” is more or less the same deal, except that its protagonist, played by Dennis Quaid, is a specialist in Victorian literature, and his flagging joie de vivre is restored when he goes to bed with Sarah Jessica Parker. Whatever gets you through the semester, I guess.

Seriously, though, what these two films — one a restrained drama, the other a frisky comedy — share is less the situation of their main characters than the superior work of the men who portray them. There is something about impersonating thwarted intellectuals, their early promise and ambition fading into vanity and irrelevance, that inspires a certain kind of actor to tap into deep veins of pathos and wit. Jeff Daniels struck the modern template for this kind of performance in “The Squid and the Whale,” and in their different ways Mr. Jenkins and Mr. Quaid live up to his high standard.

Mr. Quaid, his handsomeness distorted and obscured by stooped shoulders, a sagging belly and wayward facial hair, plays Lawrence Wetherhold, an English professor at Carnegie Mellon whose general unpleasantness seems less like a personality trait than like a belief system. His narcissism is a seamless coat of many colors, a weave of grief for his dead wife, resentment at how much the world demands of him and the conviction that he is smarter than everybody else.

His son, James (Ashton Holmes), an aspiring poet and a student at the college, finds Lawrence’s imperiousness nearly intolerable, while his daughter, Vanessa (Ellen Page), carefully tends the flame of her father’s ego and takes him as a role model in contrarianism. Secure in the sense of her own superiority and proud of her political conservatism, Vanessa is Diablo Cody’s Juno rewritten by Ayn Rand.

Actually, the excellent script for “Smart People” is the work of Mark Jude Poirier, a fiction writer who has clearly spent enough time around English departments to have studied the tribal ways of the literary professoriate with ethnographic rigor. The scenes of Lawrence in the classroom or in department meetings are among the most frighteningly, comically accurate such moments I have ever seen on film.

That may sound like a minor accomplishment, but the great virtue of “Smart People,” attributable to Noam Murro’s easygoing direction as well as to Mr. Poirier’s wandering screenplay, lies in its general preference for small insights over grand revelations. There is a fairly busy plot, and some of its developments — an unplanned pregnancy, a flicker of quasi-incestuous sexual interest, the acceptance of a poem by The New Yorker — clatter onto the screen like carelessly flung darts. But to a greater extent than in most comedies, the narrative seems more like background or scaffolding than like the engine that drives the characters, who are propelled instead by their own colliding, confusing, idiosyncratic energies.

Lawrence, sour patriarch and weary pedagogue, may dominate the landscape, but the people surrounding him are much more than mere foils or supporting players. Ms. Page is both sharp and brittle, but as she did with Juno, she allows Vanessa’s callowness and uncertainty to show through her veneer of sarcastic poise. Ms. Parker, as Janet Hartigan, a former student of Lawrence’s whose undergraduate crush on him is revived when they meet in a hospital emergency room (she as doctor, he as patient), cuts her natural charm with a very real sense of anxiety and disappointment. And above all there is Thomas Haden Church, suavely stealing scenes from Mr. Quaid in the slightly implausible but nonetheless charming role of Lawrence’s ne’er-do-well adoptive brother, Chuck.

Chuck, whose refusal to act his age seems as defiant and deliberate as his brother’s decision to act much older than his, crashes in Lawrence’s guest room and strikes up an occasionally awkward friendship with Vanessa. Lawrence, meanwhile, pursues an equally awkward affair with Janet, whose consequent rivalry with Vanessa is both unstated and unmistakable.

Over the course of the movie everyone changes, but the filmmakers don’t force them into preordained postures of redemption. They are defiantly fixed in their personalities even as they show — and eventually acknowledge — some room for improvement. But none undergo the kind of hokey, wholesale transformations that too often turn brisk comedies into damp melodramas. They, and the filmmakers, are too proud — and too smart — for that kind of nonsense. The ordinary nonsense of human imperfection will do just fine.

“Smart People” is rated R (Under 17 requires accompanying parent or adult guardian). It has swearing, drug use and two lingering glances at Mr. Church’s naked buttocks.

SMART PEOPLE

Opens on Friday nationwide.

Directed by Noam Murro; written by Mark Jude Poirier; director of photography, Toby Irwin; edited by Robert Frazen and Yana Gorskaya; music by Nuno Bettencourt; production designer, Patti Podesta; produced by Bridget Johnson, Michael Costigan, Michael London and Bruna Papandrea; released by Miramax Films. Running time: 1 hour 34 minutes.

WITH: Dennis Quaid (Lawrence Wetherhold), Sarah Jessica Parker (Janet Hartigan), Thomas Haden Church (Chuck Wetherhold), Ellen Page (Vanessa Wetherhold), Ashton Holmes (James Wetherhold), David Denman (William) and Camille Mana (Missy).

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كارگردان: نوام مورو
نویسنده: مارک پویریر
بازیگران: دنیس کواید، الن پیج، سارا جسیکا پارکر، توماس هیدن چرچ
رنگ: رنگی
ژانر: : عشقی :: درام :: کمدی :
درجه فیلم: R
کشور: ایالات متحده
استودیو: میراماکس فیلمز
افتتاحیه: 11 آوریل 2008
فروش هفته: 4.2
فروش کل: 4.2
مدت زمان فیلم: 95
امتياز منتقدان از 100: 58
جملات تبليغاتي: گاهی زرنگ‌ترین آدم‌ها چیزهای زیادی باید بیاموزند.
خلاصه داستان: یک زوج جوان وارد خانه یک پروفسور تازه طلاق‌گرفته می‌شوند و اتفاقات جالبی برای پیرمرد می‌افتد.

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